Camelia Elias

This book aims to cover four basic questions: Why do we read cards? What's so special about the Marseille Tarot? How can the cards uncover our blind spots? What does it mean to live a magical life, when we allow the stories that the cards tell us to offer solutions to our real problems? The book is also the first to introduce the readers to the wonderful and strange cards of Carolus Zoya, a most rare and unseen Tarot de Marseille deck made in Turin at the end of 1700.

Towards the Art of Reading

Marseille Tarot

The Omnibus Edition

The Power of the Trumps and Pips

The Way of the Sign is a book about extraction, about reducing methods of inquiry to the bare bones. In a clear, concise, and dialogic style, Camelia Elias guides students through 10 schools of theory and criticism. The focus is on 'asking' each theory to give its best in the simplest way, by making us see what is at stake and how we might respond to it.

Cultural Text Theory in Two Steps

The Way of the Sign

READING THE MARSEILLE TAROT, THE SUBTLE, YET SHARP WAY.

A Subtle Burst

The Power of the Trumps

This course book offers rigorous deconstructions and revisions of traditional approaches to reading the Marseille Tarot, establishing a unique, oracular voice that's efficient, convincing, and poetic.

The Essential Course in Reading the Marseille Tarot

Read Like The Devil

This monograph is an interdisciplinary study of the concept of 'fragment' in literature and in critical and literary theory. It discusses the fragment's performativity and function within a historical perspective, stretching from Heraclitus, via the German Romantics and European writers of the Modernist period, to American postmodern manifestations of the fragment. This is the first history of the fragment to appear in English, and it is also the first attempt at producing a consistent taxonomy of literary and critical fragments. The fragments are categorised according to function, not author intention, and the study addresses a number of questions: What constitutes the fragment, when the fragment can only be defined a posteriori? Does the fragment begin on its own, or is it begun by others, writers and critics? Does it acquire a name of its own, or is it labelled by others? All these questions revolve around issues of agency, and they are best discussed in terms of performativity, which means seeing fragments as acts: acts of literature, acts of reading, acts of writing. The book demonstrates how a poetics of the fragment as a performative genre can be created, situating the fragment both as literature and as a phenomenon within postmodern criticism against the background of philosophy, art history, and theology.

Camelia Elias

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